As Enjolras sings in "Red and Black," "It is time for us all to decide who we are." As Charles Morey points out in his director's notes, these characters are on a journey, and we can all relate to the stops they make along the way.

When the bishop refuses to condemn Jean Valjean, his simple act of compassion sets Valjean on a path toward redemption and an archetypal conflict with Javert, who is locked into the philosophy that "a man like you can never change."

Joe Cassidy creates a charismatic and empathetic Jean Valjean, shifting smoothly from strong confrontations with Javert to tender moments with Fantine, Cozette and Marius in "Bring Him Home." Josh Davis is a stern, self-righteous Javert with a powerful voice, but his stiff portrayal turns Javert into a diabolical force of nature, a one-dimensional villain.

George Maxwell's cavernous, yet claustrophobic, brick courtyard set is softened by a dark drape that creates a more intimate space, and Morey positions characters downstage at meaningful moments and isolates them in Karl Haas' moody, golden lighting. K.L. Alberts' colorful period costumes range from dignified to gaudy, sophisticated to simple, to depict the many levels of French society. Darren Cohen's musical direction is impeccable; you can distinguish every word.

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